5 String, odd B string sound

[OldBlue61]

I had a hard time searching for something like this (or I'm just plain stoopid using search), so I thought I'd ask the question. Mods - please move or delete if necessary.

I recently acquired a Ibanez SR405 that needed a bit of work (link HERE). I purchased a set of D'Addario nickel XL165 strings (.135 B string), mainly because that's what it came with originally, and I figured I'd start there, string-wise. After a proper setup it plays well and sounds good, except for the B string. It doesn't really vibrate, it seems a more accurate description is it pulsates, especially on the open B note (the higher up the neck you go the less pronounced it is). You get up to the E on the B string, and it's almost a carbon of the open E string, but below that the B string sounds horrible.

I guess I'm wondering if this is normal, and just a charistic of the low B, or it because of these strings? I think I can purchase a new B string individually, and that's fine, just not sure if that's the correct way to go, or if there's something else I should look into first. This is my first 5 string I've really messed with, so maybe this is normal? If that's the case then I really feel dumb posting this.

 

[Ggaa]

Could be the gage, maybe not, could be that individual string. I use Dadds but no heavier than .125 for the B, no similar issues.

 

[jlo95]

Hard to say what the deal is. Lots of variables at play. A bass is a sum of its parts and some basses handle a low B better than others.

In my experience, experimentation is the way to go here. Buy a lot of string sets and just see what works. I’ve found Daddarios are the worst B strings for my instruments. Dunlop and DR have been good to me. Lakeland and Ernie ball are also very good. Also try tapered B string.

All of that should take you about 6 months (and cost a couple hundred bucks) and then you’ll have a better idea of what works for your instrument.

Happy practicing!

 

[michael_t]

When I acquired my Yamaha TRBX505 back in 2018, I struggled to find a B string that sounded good...until I started experimenting with taperwound/exposed-core B strings. I found they sounded better on this particular bass as they seemed to vibrate more freely with better definition and more even sustain.

You can get D'Addario XL Nickel taperwound B's as singles if you care to experiment.

 

[OldBlue61]

Well , I guess a bit of experimentation may be necessary? I found a set of Dunlop strings w/ a tapered B. At $28 it’s worth a shot. Going to look for a separate D’Addario tapered B as well.

 

[Jogobass]

I use the same strings. No issues with the B string. I'm playing a Ibanez GWB205

 

[Zooberwerx]

I had a hard time searching for something like this (or I'm just plain stoopid using search), so I thought I'd ask the question. Mods - please move or delete if necessary.

I recently acquired a Ibanez SR405 that needed a bit of work (link HERE). I purchased a set of D'Addario nickel XL165 strings (.135 B string), mainly because that's what it came with originally, and I figured I'd start there, string-wise. After a proper setup it plays well and sounds good, except for the B string. It doesn't really vibrate, it seems a more accurate description is it pulsates, especially on the open B note (the higher up the neck you go the less pronounced it is). You get up to the E on the B string, and it's almost a carbon of the open E string, but below that the B string sounds horrible.

I guess I'm wondering if this is normal, and just a charistic of the low B, or it because of these strings? I think I can purchase a new B string individually, and that's fine, just not sure if that's the correct way to go, or if there's something else I should look into first. This is my first 5 string I've really messed with, so maybe this is normal? If that's the case then I really feel dumb posting this.

Tell us more about your B string install process. The pulsation on the open B (135?) gives us some direction. Couple of my observations:

*The larger gauge B strings are particularly resistant to bending when setting witness points.

*The stock nut / slots are notorious for being under-cut in terms of depth and width which can compromise seating and point-of-departure.

*A too-high pickup can also be culpable.

DA makes decent strings and there's no real reason why they shouldn't work on virtually any instrument provided all set-up elements have been examined / re-evaluated.

Riis

 

[OldBlue61]

Well, after string through the bridge, I take the string 3 fingers past the post, bend it 90 degrees, cut the excess off leaving 1/2" to 3/4" that then goes into the post. When winding, I make sure the string stays below the one above it on the post. After tuning the string, I push down an inch or so past the bridge to set the witness point.

Not sure about the nut, though I did lube it w/ a bit of graphite when I changed the strings out.

 

[Zooberwerx]

Well, after string through the bridge, I take the string 3 fingers past the post, bend it 90 degrees, cut the excess off leaving 1/2" to 3/4" that then goes into the post. When winding, I make sure the string stays below the one above it on the post. After tuning the string, I push down an inch or so past the bridge to set the witness point.

Not sure about the nut, though I did lube it w/ a bit of graphite when I changed the strings out.

Thanks and I appreciate some real #'s for a change. I recommend 3.5" or 4 fingers (one "Zoober") but if you end up with 3+ wraps, you're fine. When setting witness points, mash down directly on the string post and the leading (FB) aspects of both the nut slot and bridge saddle...this creates a true vibrating string path...you should see a well-defined "bend" and not an arc. Is the B string nestled fully in the nut slot and does it slide without binding?

Riis

 

[OldBlue61]

Is the B string nestled fully in the nut slot and does it slide without binding?

Thanks for the feedback. Answer is yes and yes.

 

[Zooberwerx]

Thanks for the feedback. Answer is yes and yes.

Great! You should be able to tune-to-pitch and tweak intonation w/o any difficulty. Hopefully, the string rings true & clear(ly) both open and up 'n down the fingerboard. May also want to check intonation fret-by-fret.

Riis

 

[dbsfgyd1]

I had a hard time searching for something like this (or I'm just plain stoopid using search), so I thought I'd ask the question. Mods - please move or delete if necessary.

I recently acquired a Ibanez SR405 that needed a bit of work (link HERE). I purchased a set of D'Addario nickel XL165 strings (.135 B string), mainly because that's what it came with originally, and I figured I'd start there, string-wise. After a proper setup it plays well and sounds good, except for the B string. It doesn't really vibrate, it seems a more accurate description is it pulsates, especially on the open B note (the higher up the neck you go the less pronounced it is). You get up to the E on the B string, and it's almost a carbon of the open E string, but below that the B string sounds horrible.

I guess I'm wondering if this is normal, and just a charistic of the low B, or it because of these strings? I think I can purchase a new B string individually, and that's fine, just not sure if that's the correct way to go, or if there's something else I should look into first. This is my first 5 string I've really messed with, so maybe this is normal? If that's the case then I really feel dumb posting this.

A common malady. I’m looking forward to reading responding posts, but I will say this, I notice that warble more when I’m playing myself, and almost never on a gig or even in the mix on recordings.

 

[Zooberwerx]

A common malady. I’m looking forward to reading responding posts, but I will say this, I notice that warble more when I’m playing myself, and almost never on a gig or even in the mix on recordings.

Dumb question but does the warble intensity wax 'n wane as the note rings out or is it fairly constant? In past discussions, we've attributed this to either a twisted string or pickup / string gap conflict.

Riis

 

[OldBlue61]

I had a set of Dunlop .045 to .130 tapered strings delivered this morning so I’m heading to my bassment to string them up and see how much difference there is.

 

[vindibona1]

@OldBlue61 There are a lot of things you can try. .135 sounds a little heavy, and IMO probably unnecessary. I like .125, .128 and UP TO .130. Also you can separately purchase a "tapered B", where there is unwrapped core near the bridge that wraps and flares to the full size of 130 or other.

Tension can sometimes be a factor. For a string with a bit more tension I like the Ernie Ball regular slinkys, I think in .45-130. They are cheap. For less tension I like D'addario NYXL's 45-130. For my Sandberg I like 45-128 stainless. On my Jazz 5 I like Elixir 45-125 nickels. It's too bad that bass strings cost so darn much these days. NYXL's are a bargain and I KNOW that you can get a tapered B from D'addario as I have many times. I think you can get the NYXL's in a 5 string pack for about $36 if memory serves.

 

[OldBlue61]

Thanks for you input @vindibona1 . I think seperate strings are next on my list of things to try..

The Dunlop .045 to .130 tapered strings didn't make that much of a difference (I only installed the B string), so I think I'll look into individual strings that are unwrapped near the bridge.

Thanks everybody for your input. I'll report back once I get some individual strings to try.

 

[GTHintz]

I really think it's the gauge of string. I'm assuming that the guy who set you up probably widened the nut if need be and made sure it was laying in there right. What I found is that if you want clarity and ringing tone you can't go too thick. .130 is the most I'll go due to that. I actually prefer.128 or .125 because of how the string vibrates better which to me translates to a more defined tone. I know some people think lower gauge rattles more and they claim they get more tone with thicker strings but personally lighter gauge is more versatile and can get a lot more bright sounding. If anything it'll be something to try. It's nicer to be able to play with a lighter and more exact touch and have more responsiveness vs trying to pull tone out of bridge cables.